The Haunted Sound Laboratory was founded in a small mountain retreat at some time during 1985 by one E. Isbell (The Technician). Having been lead researcher is a project titled “The Hocums”, Mr. Isbell opted to strike off on his own, his purpose to “explore the regions betwixt the polar edges of conventional sound, manipulate those regions as I see fit, and catalog the results, possibly for future use and publication, but, more than likely, probably not.” (Monkeys In Wonderland pp. 11-13, 1987). Using this logic, Mr. Isbell sought to expand on his already impressive standing as a researcher and scientist, and possibly receive patronage that would enable him to forgo more ‘conventional’ experiments and allow him to devote himself to the ‘unconventional ‘, which he was inexplicably drawn to.
Conceding, however, that such experiments would be viewed as unacceptable and shady at best by some of his colleagues (and more importantly, his handlers and sponsors), Mr. Isbell tended to conduct his experiments during down-times and his places of residency (namely R-23), and, occasionally, would co-opt equipment from the laboratory and take it to his residence, where he could conduct his trials without interference. Nonetheless, one man’s experiment needed suitable counterpoints and control subjects, so, duly, Mr. Isbell began to cautiously employ fellow technicians, researchers and their test subjects for contributions towards his goal. In this way, the first documented case of the use of the Haunted Sound Laboratory (other than a handful of aborted and inconclusive experiments in the field of short-wave manipulation and noise generation) was a project called “E.N.D.T.” (Experimental Noise ? ?), made up of collaborators C. Reider, B. Holst, A. Brutto, P. Marble and E. Thorp. The roster proved short-lived, however- after 14 experiments (notably ‘Charlie’ and ‘Eetl Eetl’), “E.N.D.T.” disbanded, never to work together as a unit again. However, despite the enclave’s brevity (or possibly because of it), the name Haunted Sound Laboratory began to permeate the experimental industry, but the reasons behind such an entity, or even its personnel, remained a mystery. Nonetheless, the shadowy juggernaut was unleashed, never to be fully contained again.
Around this time (‘87-‘88) at R-23 (the foundation where Mr. Isbell labored and created the HSL), the idea to begin a new spearhead project was hatched, to use only the best and brightest from the R-23 personnel. Provisionally titled “The Floor”, it soon morphed into “40 Thieves”, and its roster included Mr. Isbell, B. Holst, A. Brutto and E. Thorp from “E.N.D.T.”, as well as additional members K. Beery and G.K. The Haunted Sound Laboratory was boarded up and all projects put on temporary hiatus (some field recordings do apparently exist, however they have been misfiled, are missing, or have possibly been destroyed outright). “40 Thieves” was a brief, but fruitful and popular project, but collapsed after 2 years when most members opted to return to their own respective endeavors (trials from this period include ‘The Elusive Noodle’ and ‘Blue Shoes (Archives Volume 1, 2000)). However, the exposure the project garnered was unwittingly advantageous- witnesses to the 40 Thieves excursions would soon become Mr. Isbell’s brothers-in-arms for the next decade.
Free of “40 Thieves”, Mr. Isbell chose to relocate the laboratory to Mountain Retreat #2. Granted, time with “40 Thieves” had shifted Mr. Isbell’s focus from the truly ‘experimental’ realm for a time, but it had also enabled him to gather his own instruments and recording devices. In addition, his relocation had distanced him from his less flexible colleagues, and he could now troll the fresh masses of his new location for an endless supply of technicians and test subjects.
Apparently, the draw of more conventional experimentation proved too much for Mr. Isbell to resist, and he quickly assembled a somewhat new team for an all-new project. Made up of himself, A. Brutto and an undisclosed vocalist “Will Scarlet” began in mid-1991 to much critical praise (trials from this period include ‘25’ and ‘unknown’ (Archive, Volume 1, 2000)). A. Brutto left not long afterwards for flatter terrain, and one of the aforementioned witnesses to the “40 Thieves” success, a junior administrator named N. Lamontia, was soon hired on to take over A. Brutto’s helm as co-researcher. “Will Scarlet” was poised to cement Mr. Isbell’s reputation as noise investigation’s wunderkind, however, tragedy soon befell the Haunted Sound Lab.
While Mr. Isbell and N. Lamontia were attending a symposium at their ‘alma mater’ R-23, persons somewhat unknown ransacked the Haunted Sound Laboratory, absconding with much of the lab’s equipment and source material. The Haunted Sound Laboratory was left without funding, equipment, or even a true laboratory.
Not willing to rest because of their misfortune, Mr. Isbell and N. Lamontia decided to remain in Mountain Retreat #1 and resurrect the Haunted Sound Laboratory as a full-time venture. Gone were the case investigations performed only to fund the HSL- HSL was now first priority.
HSL Phase II began slowly, but with much promise in late 1991. New equipment and funding was acquired, and even new technicians, notably A. Oliver (another witness to the “40 Thieves” results) and, to a lesser extent, C. Lamontia. Notable studies during this period were the ‘Crown Colony Symphony’ and ‘The Green Stuff’ (Archive Volume 1, 2000). In typical HSL revolving door fashion, N. Lamontia left the organization in early ’92 on medical leave (only to reappear 6 months later), taking C. Lamontia with him. This left Mr. Isbell and A. Oliver to conduct the experiments on their own. They eventually constructed a satellite facility in Mountain Retreat #3. After N. Lamontia’s return, the three conducted research in both locations, with A. Oliver in time beginning his own research under the helm of “Statik Output” and “Zone”. During one particularly harrowing study in a utility building at Mountain Retreat #1, an entirely new element was discovered- one with a staggering atomic mass and some form of sentience. This new element, tentatively titled “Grey Area” would eventually a form of stunted intelligence and escape from the Haunted Sound Laboratory, roaming the fringes of society and calling itself “Nichts” (see individual entry). N. Lamontia decided to take up pursuit of “Nichts” on a semi-full-time basis, thus leaving Mr. Isbell to his own devices (what with A. Oliver devoting much of his time and energy to his own projects, as well as the formation of “blackcell” (see individual entry) with M. Jones), during which period he was the most prolific and inventive, creating such transmissions as ‘Unquiet Slumber’, ‘Revolt Of The Robots’, ‘Arctic Shuffle’ and ‘Liver Spots’ (Archive Volumes 2 and 3, 2000). During this time, however, A. Oliver and N. Lamontia would report back to the HSL and occasionally collaborate on an investigation (as was the case with results such as ‘Lone Gunman’ and ‘Mosoleum’ (Archive Volume 4, 2000, and unpublished, respectively).
Fast forward to 1999. With A. Oliver having abandoned his cases with “Statik Output” in favor of darker experimentation (with some degree of success), namely “blackcell”, the time became ripe for a new member of “blackcell” to be drafted, and Mr. Isbell’s name quickly rose to the top of a short list of contenders. Never truly abandoning the HSL, he instead allowed the test subjects to evolve on their own unchecked. Shuttering the two satellite labs, Mr. Isbell relocated to Mountain Retreat #2 and joined the “blackcell” team full-time, becoming the third pillar of research and execution. His inclusion into the realm of “forwards thinking” and “backwards living” proved fortuitous for both projects, as both began to experience large degrees of success and patronage. Before long, another technician was required for live execution and assessment, so N. Lamontia was called in from the field (“Nichts” trail had long since gone cold) to contribute as part-time technician and full-time absentee. Two successful sonic investigations followed in short order: “Icon Slaves” (Backwards Records, 2001) and “Killing Of A King” (Backwards Records, 2001). Eventually, the Haunted Sound Laboratory became the official testing site for all “blackcell” datum, as well as a quality control checkpoint for other technicians and their projects.
M. Jones, being Master of Ceremonies for the umbrella foundation for “blackcell”, Backwards Records (as well as a founding member of both), decided to create a functional archive of all field tests conducted by the Haunted Sound Laboratory, with the aim of releasing the most adventurous samples for public consumption, the first being a report titled ‘Eidelon’ (Backwards Records, 2002). More publications will no doubt follow, as the Haunted Sound Laboratory has a teeming archive of experiments, and Mr. Isbell is hard at work conducting further tests, as time allows.
-Nik LaMontia